Milos Forman Remembered: A Rebel in His Time, and for the Future

Milos Forman, who died on April 14 at the age of 86, has left behind some of the most sharply observed portraits of human behavior in cinema.

When I think of Forman’s work, my mind doesn’t necessarily go first to his two Oscar-winning juggernauts — “One Flew Over the Cuckoo’s Nest” (1975) or “Amadeus” (1984) — or the Czech films that garnered him worldwide acclaim in the 1960s, such as “Loves of a Blonde” (1965) or “The Firemen’s Ball” (1967). Rather, I think of the opening scene from his lesser-known comedy, “Taking Off” (1971): a series of static shots of young women, one after the other, performing songs for an off-screen producer.

Most of the women are earnest and serious; some seem awkward or shy, dressed in contemporary hippy-ish clothes; their hair is often long and frizzy. Some of these audition singers include Carly Simon, Kathy Bates (credited as Bobo Bates) and a blink-and-you’ll-miss-her Jessica Harper. What is remarkable about these relatively straightforward snippets is that Forman isn’t nudging the audience for what to make of these young people, or their songs. He’s not telling the audience how to react; he’s simply presenting these young people as they are.

Also Read: Milos Forman, ‘Amadeus’ and ‘Cuckoo’s Nest’ Director, Dies at 86

The first 5-10 minutes of this film paints a picture of these flower children of the Woodstock era that feels authentic, admiring and compassionate. And kind. It’s a quality in Forman’s cinema I can see throughout his career.

Forman sprang forth from the extraordinary group of filmmakers known as the Czech New Wave, most of whom were trained at the Film and TV School of the Academy of Performing Arts in Prague (including Věra Chytilová, Jaromil Jireš, Ján Kadár, Jan Němec and Ivan Passer), and, like his cinematic compatriots, Forman’s early films are often political in nature, portraying figures of authority as inept and corrupt. In “The Firemen’s Ball,” the volunteer fire department in a small town decides to organize a ball in honor of their recently retired chairman.

Also Read: Milos Forman Hailed as ‘Champion of Artists’ Rights’ by Directors Guild of America

At the event, the firefighters’ committee decide to host a beauty contest and proceed to procure some of the unsuspecting young women to pose for them. The women appear hesitant, guarded, and a few are even somewhat amused by the ramshackle way they are being put on display by these old men. (Most of the actors were local to the area of Vrchlabí, where it was filmed.) The spunkiest of the young women seems to have an awareness of how ridiculous and sexist this is. She laughs and then runs off halfway through her walk for the judges, triggering a mass exodus by the other contestants, and the scene ends in comedic chaos.

Clearly, the characters who buck the system, like the young woman in “The Firemen’s Ball,” are what hold director’s greatest interest. Forman is fixed on the idea of the outsider as being the true hero of his work: Jack Nicholson’s R.P. McMurphy, Treat Williams’ George Berger, Howard E. Rollins’ Coalhouse Walker Jr., Tom Hulce’s Wolfgang Amadeus Mozart, Woody Harrelson’s Larry Flynt and Jim Carrey’s Andy Kaufman are all individuals that won’t fit into society’s prescribed mold for them.

Also Read: Milos Forman Remembered by Larry Flynt, Judd Apatow and More: ‘Genius of Cinematography’

Forman’s rebels, though clearly stemming from his Czech roots, found fertile ground in America. His two most critically and financially successful films, “One Flew Over the Cuckoo’s Nest” (adapted by Lawrence Hauben and Bo Goldman from Ken Kesey’s novel) and “Amadeus” (Peter Shaffer adapting his own stage play), both impeccably produced by Saul Zaentz, together garnered 13 Oscars total, including two for Forman for directing.

At his best, Forman’s greatest work (I would include the woefully underrated musical adaptation of “Hair”) shows both compassion for his characters and wry humor in the predicaments in which these characters find themselves. His work with actors is exemplary, and his filmography is flooded with memorable performances and ensemble work: from Nicholson and Louise Fletcher in “Cuckoo’s Nest” to Rollins, Elizabeth McGovern and James Cagney in “Ragtime” (1981), F. Murray Abraham and Hulce in “Amadeus,” Harrelson and Courtney Love in “The People vs. Larry Flynt” (1996), and back to Hana Brejchová in “Loves of a Blonde” and Lynn Carlin, Buck Henry, Georgia Engel and Audra Lindley in “Taking Off,” to name a few.

Cinematically, I’m just so impressed with the way he and his cinematographers captured these actors’ faces and performances. This is filmmaking that is not trying to impress you with flashy editing and swirling cameras (though the camerawork in the opening “Aquarius” number in “Hair,” accompanied by Twyla Tharp’s wonderful choreography, is a wonderful exception), it’s focused on its characters and story.

Possibly because of his lack of flash and cutting-edge technique, there is a danger that Forman’s work may not be immediately appreciated by younger filmmakers — though in this current era where young people are rising up to stand for their beliefs to their schools, their City Halls, and the world at large, Forman’s filmography is ripe for rediscovery by a new generation of rebels.

Related stories from TheWrap:

R Lee Ermey, ‘Full Metal Jacket’ Actor, Dies at 74

Mitzi Shore, Comedy Store Founder and Owner, Dies at 87

Animator Isao Takahata, Co-Founder of Studio Ghibli, Dies at 82

Susan Anspach, ‘Five Easy Pieces’ Actress, Dies at 75

Milos Forman, who died on April 14 at the age of 86, has left behind some of the most sharply observed portraits of human behavior in cinema.

When I think of Forman’s work, my mind doesn’t necessarily go first to his two Oscar-winning juggernauts — “One Flew Over the Cuckoo’s Nest” (1975) or “Amadeus” (1984) — or the Czech films that garnered him worldwide acclaim in the 1960s, such as “Loves of a Blonde” (1965) or “The Firemen’s Ball” (1967). Rather, I think of the opening scene from his lesser-known comedy, “Taking Off” (1971): a series of static shots of young women, one after the other, performing songs for an off-screen producer.

Most of the women are earnest and serious; some seem awkward or shy, dressed in contemporary hippy-ish clothes; their hair is often long and frizzy. Some of these audition singers include Carly Simon, Kathy Bates (credited as Bobo Bates) and a blink-and-you’ll-miss-her Jessica Harper. What is remarkable about these relatively straightforward snippets is that Forman isn’t nudging the audience for what to make of these young people, or their songs. He’s not telling the audience how to react; he’s simply presenting these young people as they are.

The first 5-10 minutes of this film paints a picture of these flower children of the Woodstock era that feels authentic, admiring and compassionate. And kind. It’s a quality in Forman’s cinema I can see throughout his career.

Forman sprang forth from the extraordinary group of filmmakers known as the Czech New Wave, most of whom were trained at the Film and TV School of the Academy of Performing Arts in Prague (including Věra Chytilová, Jaromil Jireš, Ján Kadár, Jan Němec and Ivan Passer), and, like his cinematic compatriots, Forman’s early films are often political in nature, portraying figures of authority as inept and corrupt. In “The Firemen’s Ball,” the volunteer fire department in a small town decides to organize a ball in honor of their recently retired chairman.

At the event, the firefighters’ committee decide to host a beauty contest and proceed to procure some of the unsuspecting young women to pose for them. The women appear hesitant, guarded, and a few are even somewhat amused by the ramshackle way they are being put on display by these old men. (Most of the actors were local to the area of Vrchlabí, where it was filmed.) The spunkiest of the young women seems to have an awareness of how ridiculous and sexist this is. She laughs and then runs off halfway through her walk for the judges, triggering a mass exodus by the other contestants, and the scene ends in comedic chaos.

Clearly, the characters who buck the system, like the young woman in “The Firemen’s Ball,” are what hold director’s greatest interest. Forman is fixed on the idea of the outsider as being the true hero of his work: Jack Nicholson’s R.P. McMurphy, Treat Williams’ George Berger, Howard E. Rollins’ Coalhouse Walker Jr., Tom Hulce’s Wolfgang Amadeus Mozart, Woody Harrelson’s Larry Flynt and Jim Carrey’s Andy Kaufman are all individuals that won’t fit into society’s prescribed mold for them.

Forman’s rebels, though clearly stemming from his Czech roots, found fertile ground in America. His two most critically and financially successful films, “One Flew Over the Cuckoo’s Nest” (adapted by Lawrence Hauben and Bo Goldman from Ken Kesey’s novel) and “Amadeus” (Peter Shaffer adapting his own stage play), both impeccably produced by Saul Zaentz, together garnered 13 Oscars total, including two for Forman for directing.

At his best, Forman’s greatest work (I would include the woefully underrated musical adaptation of “Hair”) shows both compassion for his characters and wry humor in the predicaments in which these characters find themselves. His work with actors is exemplary, and his filmography is flooded with memorable performances and ensemble work: from Nicholson and Louise Fletcher in “Cuckoo’s Nest” to Rollins, Elizabeth McGovern and James Cagney in “Ragtime” (1981), F. Murray Abraham and Hulce in “Amadeus,” Harrelson and Courtney Love in “The People vs. Larry Flynt” (1996), and back to Hana Brejchová in “Loves of a Blonde” and Lynn Carlin, Buck Henry, Georgia Engel and Audra Lindley in “Taking Off,” to name a few.

Cinematically, I’m just so impressed with the way he and his cinematographers captured these actors’ faces and performances. This is filmmaking that is not trying to impress you with flashy editing and swirling cameras (though the camerawork in the opening “Aquarius” number in “Hair,” accompanied by Twyla Tharp’s wonderful choreography, is a wonderful exception), it’s focused on its characters and story.

Possibly because of his lack of flash and cutting-edge technique, there is a danger that Forman’s work may not be immediately appreciated by younger filmmakers — though in this current era where young people are rising up to stand for their beliefs to their schools, their City Halls, and the world at large, Forman’s filmography is ripe for rediscovery by a new generation of rebels.

Related stories from TheWrap:

R Lee Ermey, 'Full Metal Jacket' Actor, Dies at 74

Mitzi Shore, Comedy Store Founder and Owner, Dies at 87

Animator Isao Takahata, Co-Founder of Studio Ghibli, Dies at 82

Susan Anspach, 'Five Easy Pieces' Actress, Dies at 75

Miloš Forman, Oscar-Winning Director of ‘One Flew Over the Cuckoo’s Nest,’ Dies at 86

He also directed “Amadeus,” “Man on the Moon,” and several others.

Miloš Forman, who rose to prominence as a key figure in the Czech New Wave before establishing himself as one of Hollywood’s most sought-after directors, has died at 86. A two-time winner of the Academy Award for Best Director, the “One Flew Over the Cuckoo’s Nest” and “Amadeus” helmer also won three Golden Globes, the Cannes Film Festival’s Grand Prize of the Jury (for “Taking Off”), the Golden Bear at Berlin (“The People vs. Larry Flynt”), a BAFTA award, and numerous other accolades.

He died last night in Warren, Connecticut following a short illness.

“Miloš was truly one of ours. A filmmaker, artist, and champion of artists’ rights,” Directors Guild of America President Thomas Schlamme said in a statement. “His contribution to the craft of directing has been an undeniable source of inspiration for generations of filmmakers. His directorial vision deftly brought together provocative subject matter, stellar performances and haunting images to tell the stories of the universal struggle for free expression and self-determination that informed so much of his work and his life.”

Born Jan Tomáš Forman on February 18, 1932 in Čáslav, Czechoslovakia, Forman began his career in his native country before moving to the United States following the Prague Spring in 1968. He became a naturalized American citizen nine years later. His two most acclaimed films from that early period, “Loves of a Blonde” (1965) and “The Firemen’s Ball” (1967), were both nominated for the Academy Award for Best Foreign Language Film.

Forman made his English-language debut with 1971’s “Taking Off,” and from there directed such films as “Hair,” “Ragtime,” and “Man on the Moon.” His final work as director was 2006’s “Goya’s Ghosts.”

“One Flew Over the Cuckoo’s Nest” is one of only three films to win what are considered the five most important Academy Awards: Best Picture, Best Director, Best Actress, Best Actor, and Best Screenplay (adapted, in this case); the other two are “It Happened One Night” and “The Silence of the Lambs.”

Forman is survived by his wife, Martina Zborilova-Forman, and four children. Two of them, twin sons named Jim and Andy, are named after Jim Carrey and Andy Kaufman; Forman directed Carrey in “Man on the Moon,” a biopic about Kaufman.

Update: Carrey has tweeted a tribute to Forman:

Jim Carrey finds the man on the moon in this trailer for Jim And Andy: The Great Beyond

Milos Forman’s 1999 Andy Kaufman biopic Man On The Moon was largely based around star Jim Carrey recreating some of the most famous moments from the weirdo comedian’s life, but the recreations didn’t stop when the cameras weren’t rolling. In this trailer for Chris Smith’s behind-the-scenes documentary Jim And Andy:

Read more…

Milos Forman’s 1999 Andy Kaufman biopic Man On The Moon was largely based around star Jim Carrey recreating some of the most famous moments from the weirdo comedian’s life, but the recreations didn’t stop when the cameras weren’t rolling. In this trailer for Chris Smith’s behind-the-scenes documentary Jim And Andy:

Read more...

‘Jim & Andy: The Great Beyond’ Trailer: Jim Carrey Shows You How He Transformed Into Andy Kaufman

Netflix’s new documentary provides never-before-seen footage of Carrey’s work behind the scenes of Miloš Forman’s “Man on the Moon.”

Any list of Jim Carrey’s best performances is bound to have his turn as Andy Kaufman in Miloš Forman’s “Man on the Moon” somewhere in the top five. Carrey earned universal acclaim for his turn as the comedian and performance artist, winning the Golden Globe for Best Actor in a Musical/Comedy, and now he looks back at the process of becoming Kaufman in the new documentary “Jim & Andy: The Great Beyond.”

Directed by Chris Smith, “Jim & Andy” features never-before-seen footage from behind the scenes of “Man on the Moon.” The documentary chronicles Carrey’s artistic process and how he fully transformed into the legendary Kaufman, which included going method and remaining in character for much of production. The documentary premiered at the Venice Film Festival earlier this year.

Netflix will debut “Jim & Andy: The Great Beyond” November 17. Watch the trailer below.